Gustav MahlerSymphony No. 1 in D Major „Titan“London Philharmonic Orchestra /Sir Adrian Boult, Conductor

1 I. Langsam, schleppend wie ein Naturlaut 14:22

2 II. Kräftig bewegt, doch nicht zu schnell 05:53

3 III. Feierlich und gemessen, ohne zu schleppen 09:00

4 IV. Stürmisch bewegt 16:51

MAHLER: Symphony No.1 in D MajorSir Adrian Boult conducting theLondon Philharmonic Orchestra

Of the nine massive works by Gustav Mahler (1860-1911) bearing the designa-tion “symphony”, four call for voices (No.2, No.3, No.4, No.8). The First Symphony, begun in 1884 when the 24-year-old Mahler was undertaking his first significant conduct-ing job at the Court Theater of Cassel, calls for no voices but draws directly on two songs from Mahler’s cycle Lieder eines fahrenden Gesellen (“Songs of a Wayfarer”) begun the year before. The songs were finished by the beginning of 1885, at which time Mahler had left Cassel for the German Theater in Prague. The Symphony did not reach completion till the spring of 1888, by which time Mahler had worked as second conductor in Leipzig under Nikiski and was preparing to negotiate for his first “big time” post, that of Director of the Budapest Opera - an appointment he received that fall. He himself conducted its premiere in Budapest on November 20, 1889 before a thoroughly uncomprehending audi-ence.

The cycle was completed under the impact of a passionate and unfulfilled love affair with one Johanne Richter, while the Symphony saw completion at a time when the young conductor-composer had become deeply involved with the wife of Carl Maria von Weber’s grandson. Small wonder that Mahler at one time chose to call the out-burst in the opening pages of the finale “the cry of a deeply wounded heart.” For Mahler this work must have represented the cathar-sis for all the passionate woes and joys of his youth. Beginning with the years at Budapest,

Mahler had achieved manhood’s estate in terms of the enormous artistic and adminis-trative responsibilities he was to shoulder.” From that time until his death, there was to be unceasing conflict between his public self as the most brilliant conductor of the day and his private self which demanded time and peace for musical creation.

Mahler’s First Symphony contains all the essential expressive elements of his musi-cal idiom - the evocation of nature sounds, the use of folk or quasi-folksong materi-als, the juxtaposition (as in the early T. S. Eliot poems) of the magically ideal with the crassly vulgar, and of course, the use of outsized instrumental forces. Here too we have no hesitation on the composer’s part to create a work of at least half an evening’s length. “A symphony must be like the world,” he once said. Mahler’s orchestration calls for 4 flutes (with 2 piccolos), 4 oboes, English horn, 4 clarinets (one in E-flat, doubled if possible), bass clarinet, 3 bassoons, contra-bassoon, 7 horns, 4 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, triangle, tam- tam, harp, strings.

The first movement Langsam, schleppend wie ein Naturlaut (Slowly, drawn out like a sound of Nature) opens with Mahler’s evoca-tion of Nature in early dawn. The cuckoo can paves the way for the main theme proper, than of Ging’ heut’ Morgen übers Feld (“O’er the Fields I Went at Morn”)-No. 2 from the “Wayfarer” cycle. Freshness and youthful pugnacity characterize the movement as a whole. The second movement Kräftig bewegt, doch nicht zu schnell (Strongly vigorous, but not too fast) takes the form of a rustic peas-ant dance-a Ländler, which was to intrigue Russia’s Dmitri Shostakovich nearly 50 years

later-if we are to believe the evidence of his Fifth Symphony-second movement, Feierlich und gemessen, ohne zu schleppen (Solemn and measured, without dragging) - this third movement was the one that excited the most controversy among the serious-minded concert audiences of the 1880s and ‘90s. A gloomy funeral march seems in pros-pect here-but just listen to the tune, noth-ing more nor less than our old friend Frère Jacques in the minor, and then this followed by a completely vulgar oompah “Jüdischer Tanz!” The sweetly poignant middle section-based on the last of the “Wayfarer” songs, Die zwei blauen Augen (“My Sweetheart’s Two Blue Eyes”) -provides the key; for the movement would seem to be a deliberate mockery of the shattered beauty of Mahler’s two youthful loves. Berlioz, of course, pio-neered this concept in his treatment of the idée fixe “Beloved” theme in his Symphonie Fantastique, but Mahler developed this satir-ical technique to the fun, and it subsequently became the small change of much contempo-rary music between the two world wars.

Fury breaks loose in the finale (Stürmisch bewegt) which follows immediately upon the dying strains of the funeral march like a sud-den summer thunderstorm. There is fierce passion in the succeeding lyrical episodes and recall of earlier pages; but there is also promise of redemption in chorale-fanfare sounded softly by trumpets, then blared out by the seven horns. The end, as Moses Smith once said, “is like the resurrection.”

Original Liner Notes by DAVID HALL

Some notes on the history of Everest Records and the digital remastering

When Everest Records was founded by Harry Belock in 1958 as a division of Belock Instru-ment Corp., the aim was to produce a cata-logue of stereo recordings of the highest pos-sible technical standard, with interesting and innovative classical repertoire played by some of the best artists and orchestras.

For the first Everest recording sessions in 1958, an Ampex 300-3 half-inch three-chan-nel recorder was used. Later on the label moved to use a Westrex 35mm 3-track mag-netic film recorder, which had a wider possible dynamic range, less print-through, less tape stretch and less ‘wow and flutter’, and which was the basis for the highly acclaimed typical “Everest-sound”.

…from the original LP release:

“This Everest Recording is a Product of Belock Recording, a division of the Belock Instrument Corp. An EVEREST recording represents a new peak of achievement in the recording art. As a product of Belock Instru-ment Corp. this recording enjoys unique advan-tages shared by few, if any other record com-pany. The parent company is considered one of the world’s finest precision electronic facilities and is engaged chiefly in the development and production of ultra-secret military devices. The company was one of the earliest involved in the electronics aspects of ballistic missiles and is pre-eminent in the fields of radar, and fire-power computers and stabilization sys-tems. Harry Belock, founder of the company, is an international authority on sound, and has designed magnetic film recorders which are in use throughout the world. To EVEREST he brings all his talents and the vast techni-cal resources of his company. This recording was made in the new Belock Recording studio, which is constructed along the most advanced ideas in acoustics for recording. The very latest Telefunken, AKG and Neumann microphones were utilized, feeding into the new Ampex 300 self-sync stereo recorders on half inch tape. A specially-designed Ampex with low-noise amplifiers is used to produce the dubbing mas-ter. Tape duplication is accomplished on modi-fied Ampex machines in the Belock studios, so that maximum quality control is exercised at all times. For stereo disc, the tape is fed into modified Westrex stereo cutterhead, mounted on Scully lathes. A former Westrex design engi-neer is on the Belock Recording stuff to insure optimum quality in stereo disc operations. The results of all this painstaking care are to be heard on any EVEREST recording. The record-ings will give superb sound on any playback

system, but naturally will be most appreci-ated by the audiophile with the very finest hi-fi equipment. When EVEREST recordings are played in the Belock studio through top quality hi-fi equipment similar to that found in home use, the resulting sound is indistinguishable from the master tape. Since Belock Record-ing unconditionally guarantees that their tapes and stereo disks are genuine stereophonic recordings, they are designated as CERTI-FIED STEREO-MASTER RECORDINGS. The frequency range of EVEREST recordings is 20 to 20,000 cycles. It is important to note, that many companies specify wide frequency response, and while this is an important part of hi-fi recording, the distortion content of the recording is, if anything, even more important. All EVEREST recordings are free of audible distortion throughout the entire frequency range. Carefully wipe surface with soft damp cloth. Return to wrapper after each play.”

Executive Producer: Mark Jenkins for Countdown Media/Everest • Digital Transfers and Remastering: Lutz Rippe at Countdown Media using the original master tapes • Artwork preparation: Eckhard Volk at Countdown Media • Digital Booklet: Dirk Böing, Martina Grüthling • Original Producer: Bert Whyte for Everest Records • Original Recording Engineer: Aaron Nathanson • Recording Location and Date: Walthamstow Assembly Hall, London (August 1958) • Original Recording on 3-track ½ inch tape, released in December 1958 as SDBR 3005 • Analog playback of the 35mm copy master tapes on an Albrecht MB 51 • Digital restoration and remastering using Algorithmix software products ℗ & © Countdown Media GmbH

SDBR-3003 Antill: Corroboree - Ginastera: PanambiLondon Symphony Orchestra & Sir Eugene Goossens, Conductor

SDBR-3005 Mahler: Symphony No. 1 in D Major “Titan”London Philharmonic Orchestra & Sir Adrian Boult, Conductor

SDBR-3006 A Memorial Tribute to Ralph Vaughan Williams: Symphony No. 9 in E Minor London Philharmonic Orchestra & Sir Adrian Boult, Conductor

SDBR-3009 Stravinsky: Ebony Concerto & Symphony in 3 MovementsWoody Herman and his Orchestra / London Symphony Orchestra & Sir Eugene Goossens, Conductor

SDBR-3018 Copland: Symphony No. 3London Symphony Orchestra & Aaron Copland, Conductor

SDBR-3022 Kodály: Psalmus Hungaricus - Bartók: Dance SuiteLondon Philharmonic Orchestra & János Ferencsik, Conductor

SDBR-3025 Waltz MasterpiecesStadium Symphony Orchestra of New York & Raoul Poliakin, Conductor

SDBR-3026 Rimsky-Korsakov: ScheherazadeLondon Symphony Orchestra & Sir Eugene Goossens, Conductor

SDBR-3027 Raymond Paige’s Classical Spice ShelfStadium Symphony Orchestra of New York & Raymond Paige, Conductor

SDBR-3031 Wagner: Parsifal - Good Friday Spell “Karfreitagszauber” & Symphonic Synthesis Act 3 Houston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3032 Scriabin: The Poem of Ecstasy - Amirov: Azerbaijan MugamHouston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3033 Stravinsky: PetrouchkaLondon Symphony Orchestra & Sir Eugene Goossens, Conductor

SDBR-3034 Prokofiev: Symphony No. 5London Symphony Orchestra & Sir Malcolm Sargent, Conductor

SDBR-3037 Berlioz: Symphonie FantastiqueLondon Symphony Orchestra & Sir Eugene Goossens, Conductor

SDBR-3038 Richard Strauss: Ein HeldenlebenLondon Symphony Orchestra & Leopold Ludwig, Conductor

SDBR-3039 Tchaikovsky: Symphony No. 5 in E Major, Op. 64London Symphony Orchestra & Sir Malcolm Sargent, Conductor

SDBR-3040 Hindemith: Violin Concerto & Mozart: Violin Concerto No. 3London Symphony Orchestra, Sir Eugene Goossens, Conductor & Joseph Fuchs, Violin

SDBR-3041 Villa-Lobos: The Little Train of the Caipira (from Bachianas Brasileiras No. 2) Ginastera: Estancia & Panambi (Ballet Suites) London Symphony Orchestra & Sir Eugene Goossens, Conductor

SDBR-3044 Grofé: Grand Canyon Suite & Concerto for Piano and Orchestra in D Minor Rochester Philharmonic Orchestra & Ferde Grofé, Conductor

SDBR-3045 Sibelius: Violin Concerto in D Minor & Tapiola, Tone Poem, Op. 112 London Symphony Orchestra, Tauno Hannikainen, Conductor & Tossy Spivakovsky, Violin

SDBR-3046 Schubert: Symphony No. 8 in B Minor, D 759 “Unfinished” - Mozart: Symphony No. 40 in G Minor, K. 550 London Symphony Orchestra & Leopold Ludwig, Conductor

SDBR-3047 Stravinsky: The Rite of Spring (“Le Sacre du Printemps”)London Symphony Orchestra & Sir Eugene Goossens, Conductor

SDBR-3049 Tchaikovsky: Violin Concerto in D Major, Op. 35 & Melody, Op. 42/3 London Symphony Orchestra, Walter Goehr, Conductor & Tossy Spivakovsky, Violin

SDBR-3050 Mahler: Symphony No. 9 in D MinorLondon Symphony Orchestra & Leopold Ludwig, Conductor

Below is a listing of the currently available Everest albums in this series. For more information and an updated listing please visitwww.evereststereo.com

SDBR-3051 Respighi: The Fountains of Rome & The Pines of RomeLondon Symphony Orchestra & Sir Malcolm Sargent, Conductor

SDBR-3052 Khatchaturian: Gayne (Ballet Suite)London Symphony Orchestra & Anatole Fistoulari, Conductor

SDBR-3053 Mussorgsky: Pictures at an Exhibition & Night on Bald Mountain London Symphony Orchestra & Sir Malcolm Sargent, Conductor

SDBR-3054 Shostakovich: Symphony No. 9 / Lieutenant Kijé SuiteLondon Symphony Orchestra & Sir Malcolm Sargent, Conductor

SDBR-3055 Khatchaturian: Concerto for Piano and Orchestra in D-flat Major London Symphony Orchestra, Hugo Rignold, Conductor & Peter Katin, Piano

SDBR-3056 Dvorák: Symphony No. 9 in E Minor, Op. 95 “From the New World” London Symphony Orchestra & Leopold Ludwig, Conductor

SDBR-3057 De Falla: The Three Cornered Hat (Complete Ballet)London Symphony Orchestra & Enrique Jordá, Conductor

SDBR-3058 Irving Berlin: Great Man of American Music - A New Interpretation Raoul Poliakin and his orchestra

SDBR-3059 Works of Lili Boulanger: Du fond de l’abîme (Psaume 130), Psaume 24, Psaume 129 & Vieille Prière Bouddhique Lamoureux Concert Association Orchestra, Elisabeth Brasseur Choir & Igor Markevtich, Conductor

SDBR-3060 Debussy: Iberia - Ravel: La Valse & Rhapsodie EspagnolRochester Philharmonic Orchestra & Theodore Bloomfield, Conductor

SDBR-3061 A Memorial Album: Ernst von Dohnányi Plays His Own Music for Piano Ernst von Dohnányi, Piano

SDBR-3062 Jorge Bolet playing the music of Franz Liszt: Piano Concerto No. 1 in E-Flat Major & Mephisto Waltz No. 1 Jorge Bolet, Piano

SDBR-3063 Bennett: A Commemoration Symphony to Stephen Foster & A Symphonic Story of Jerome Kern Pittsburgh Symphony Orchestra, Mendelssohn Choir of Pittsburgh & William Steinberg, Conductor

SDBR-3064 A Liszt Recital: Piano Sonata in B Minor / Funerailles / Mephisto Waltz No. 1 Jorge Bolet, Piano

SDBR-3067 Gershwin: Rhapsody in Blue & An American in ParisPittsburgh Symphony Orchestra, William Steinberg, Conductor & Jesus Maria Sanroma, Piano

SDBR-3068 Sibelius: Symphony No. 5 in E-Flat Major, Op. 82 & Finlandia, Op. 26 Rochester Philharmonic Orchestra & Theodore Bloomfield, Conductor

SDBR-3069 Bartók: Concerto for OrchestraHouston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3070 Wagner: Magic Fire Music & Wotan’s Farewell – Chopin: Mazurka, Op. 17/4, Prelude, Op. 28/24 & Waltz, Op. 64/2 – Canning: Fantasy on a Hymn Tune by Justin Morgan Houston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3074 Beethoven: Symphony No. 6 in F Major, Op. 68 “Pastorale” London Symphony Orchestra & Josef Krips, Conductor

SDBR-3086 Beethoven: Symphony No. 5 in C Minor, Op. 67London Symphony Orchestra & Josef Krips, Conductor

SDBR-3087 Beethoven: Symphony No. 3 in E-flat Major, Op. 55London Symphony Orchestra & Josef Krips, Conductor

SDBR-3088 Beethoven: Symphony No. 7 in A Major, Op. 92London Symphony Orchestra & Josef Krips, Conductor

SDBR-3089 Beethoven: Symphonies No. 1 & 8London Symphony Orchestra & Josef Krips, Conductor

SDBR-3110 Beethoven: Symphony No. 9 in D Minor, Op. 125 “Choral”London Symphony Orchestra & Josef Krips, Conductor

SDBR-3113 Beethoven: Symphonies No. 2 & 4London Symphony Orchestra & Josef Krips, Conductor